Following up their publication of Charles Portis’s “Motel Life, Lower Reaches” online, the Oxford American brings us a speech in verse by Jay Jennings, the editor of a recent compilation of Portis’s work (which our own Bill Morris reviewed). Jennings delivered an ode to Portis to mark the author winning the Porter Prize Lifetime Achievement Award. Sample quote: “But you read the next book because the main character was from Little Rock,/and you knew no other book where the main character was from Little Rock/and you wanted to write a book about Little Rock.”
When street art and literature combine: on “The Moving, Playful Poetry of the World’s Textual Graffiti Artists,” from Slate.
“In the twenty-first century, the lyric essay at its worst is a utility or an app; at its best, it’s a cross-hatch of a genre in which things cross over; implicitly chiasmic, it’s a space in which incompatible discourses are allowed to intermingle; wherein poetry and prose create productive frictions, enabling a new, unnatural form, illegible and readable for the first time.” Mary Cappello writes about the lyric essay and Djuna Barnes.
“A story works when there’s momentum, life behind the words,” Mary Miller told Matthew Salesses at The Rumpus. She needs that momentum for her new novel, The Last Days of California, about a family driving to California for the rapture. Also, Amy Butcher wrote about her favorite Millerisms at Hobart.
Three weeks ago, Vishwas Gaitonde wrote a piece for us about a house in India once owned by the family of George Orwell. Now, in the Times, Jane Perlez pays a visit to Burma, where Orwell served in the Imperial Police Force and gathered impressions for his first novel, Burmese Days.
There’s a new Ethicist in town. Chuck Klosterman is taking over the NYT advice column, and I’m thinking, gee, I wonder what the author of Sex, Drugs, and Cocoa Puffs knows about ethics. His first column seems pretty legit, but I can’t wait for him to introduce time-travel [pdf] and other hypotheticals.